Happy pride month to THEM
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ellievsbear
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PUT YOUR BEARD IN MY MOUTH
ojovivo
h

shark vs the universe
Sade Olutola
Game of Thrones Daily
I'd rather be in outer space 🛸
YOU ARE THE REASON
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$LAYYYTER

⁂
Sweet Seals For You, Always
Keni
"I'm Dorothy Gale from Kansas"

blake kathryn
Lint Roller? I Barely Know Her

if i look back, i am lost

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@not-ginny-either
Happy pride month to THEM
sex can be something you do with your teeth
Laufey, Hudson Williams, Alysa Liu, Lola Tung and Megan Skiendiel behind the scenes for “madwoman”
Laufey's "Madwoman" music video out on Monday 4/13 10am EST!
Laufey, Hudson Williams, Alysa Liu, Lola Tung and Megan Skiendiel for “madwoman” (x)
NEW PHILOSOPHY TUBE IS HERE
hey tumblr friends
go watch this video lol, I put so much work into it and it exposes some really important stuff happening in britain that affects everyone here
and then, if it's not too much trouble, share it around and support the show financially if you're able!
Sometimes the story just kind of tells itself. - Tim Minear
flattening any conflict that Robby has with a woman to misogynistic assholery is missing about 95% of the nuance. first of fucking all, most of the characters on this cast are women. sometimes he's not an ass because it's a woman, sometimes it just happens to be a fucking woman.
there's some bias in the way he treats Baran, but again, not the main focus. Baran is a direct threat to Robby, on a professional and personal level. Administration is clearly trying to push him out, backing him into a corner, disrespecting him. much of this isn't Baran's fault, but she's the face of it, and part of it. professionally, he's fucking pissed for a few reasons, and has every right to be— not that he's handling it well.
on a personal level, Robby is vulnerable and insecure. Baran is laughing with Dana, conversing easy with Jack, and even Dennis is saying "she seems cool!" none of this is bad, but to Robby, it's devastating. he's not in a stable state, and his entire support system seems to agree that yes, we like the person who's supposed to take robby's place.
now, they don't mean it as a personal attack, and they don't mean it in a way that means they hate Robby or want her as replacement forever, but Robby is in crisis. everything about Baran is unintentionally reinforcing on both a professional and personal level that he is not needed, and he is a failure. and since he struggles with toxic masculinity and has been burying everything for so long, his emotions of hurt come out as anger instead.
Robby was starry-eyed after Baran saved that little boy's life, and told her to "take the win" before the alarming fall to undermining her and saying this department will fall to shit with her. he doesn't even necessarily hate baran, but she represents everything he's afraid of. that the department won't fall to shit. that they don't need him. that they probably don't even want him, wouldn't choose him. he's a cornered dog, and he's biting. when he insists people need him, it's another facet of his subtle begging for reassurance. (please tell me you need me.)
I've talked about the Robby and Samira dynamic at length, but it's not just because he's somehow an evil racist misogynist that he's harder on her. he sees himself in her, and since he hates himself so much, that's not a good thing. he does also believe in her, but is shit at showing it. he doesn't want her to turn into him. etc etc I could go on.
I saw someone say "it is misogyny. he would've NEVER yelled at a man like that." we are not watching the same show. frank langdon got yelled at three different times in season 1, one of those taking place before Robby knew about his addiction, and in front of others.
when you say Robby would give a white man so much more leeway, you're really just thinking of Dennis. he doesn't like ogilvie, either. "ogilvie, put your hand down." "keep your fucking mouth shut." neither of those are good mentorship or leadership moments, and he clearly favors Joy.
this isn't excusing his actions, but the point is that he's being a dick to EVERYONE. that is the WHOLE fucking point I fear. like. the point is to show the deterioration of Robby. that is. the point.
while it's important to call out bias, when it's every take I see, (and usually not a nuanced take in that discussion either, mostly just how Robby is the devil from the bible and he puts "hating women" on his calendar every day), it is so fucking tiring. you are flattening this fucking show. robby's flaws are a lot more complex and nuanced and compelling. yes, they are flaws, but no, he's not evil.
flattening any conflict that Robby has with a woman to misogynistic assholery is missing about 95% of the nuance. first of fucking all, most of the characters on this cast are women. sometimes he's not an ass because it's a woman, sometimes it just happens to be a fucking woman.
there's some bias in the way he treats Baran, but again, not the main focus. Baran is a direct threat to Robby, on a professional and personal level. Administration is clearly trying to push him out, backing him into a corner, disrespecting him. much of this isn't Baran's fault, but she's the face of it, and part of it. professionally, he's fucking pissed for a few reasons, and has every right to be— not that he's handling it well.
on a personal level, Robby is vulnerable and insecure. Baran is laughing with Dana, conversing easy with Jack, and even Dennis is saying "she seems cool!" none of this is bad, but to Robby, it's devastating. he's not in a stable state, and his entire support system seems to agree that yes, we like the person who's supposed to take robby's place.
now, they don't mean it as a personal attack, and they don't mean it in a way that means they hate Robby or want her as replacement forever, but Robby is in crisis. everything about Baran is unintentionally reinforcing on both a professional and personal level that he is not needed, and he is a failure. and since he struggles with toxic masculinity and has been burying everything for so long, his emotions of hurt come out as anger instead.
Robby was starry-eyed after Baran saved that little boy's life, and told her to "take the win" before the alarming fall to undermining her and saying this department will fall to shit with her. he doesn't even necessarily hate baran, but she represents everything he's afraid of. that the department won't fall to shit. that they don't need him. that they probably don't even want him, wouldn't choose him. he's a cornered dog, and he's biting. when he insists people need him, it's another facet of his subtle begging for reassurance. (please tell me you need me.)
I've talked about the Robby and Samira dynamic at length, but it's not just because he's somehow an evil racist misogynist that he's harder on her. he sees himself in her, and since he hates himself so much, that's not a good thing. he does also believe in her, but is shit at showing it. he doesn't want her to turn into him. etc etc I could go on.
I saw someone say "it is misogyny. he would've NEVER yelled at a man like that." we are not watching the same show. frank langdon got yelled at three different times in season 1, one of those taking place before Robby knew about his addiction, and in front of others.
when you say Robby would give a white man so much more leeway, you're really just thinking of Dennis. he doesn't like ogilvie, either. "ogilvie, put your hand down." "keep your fucking mouth shut." neither of those are good mentorship or leadership moments, and he clearly favors Joy.
this isn't excusing his actions, but the point is that he's being a dick to EVERYONE. that is the WHOLE fucking point I fear. like. the point is to show the deterioration of Robby. that is. the point.
while it's important to call out bias, when it's every take I see, (and usually not a nuanced take in that discussion either, mostly just how Robby is the devil from the bible and he puts "hating women" on his calendar every day), it is so fucking tiring. you are flattening this fucking show. robby's flaws are a lot more complex and nuanced and compelling. yes, they are flaws, but no, he's not evil.
them >>
HAPPY BIRTHDAY, HOZIER
born 17th March 1990 on St. Patrick's day.
In general, Sinners has great cinematography, but I think this tracking shot that follows Lisa Chow across the street from her parents’ Black storefront to their White storefront is one of my favorites:
Look at how it immediately establishes the rules of the movie's setting.
This is Jim Crow Mississippi where Black and White residents essentially live in different worlds. The continuous take forces us (the audience) to experience that segregation in real time as we walk behind Lisa crossing the street. There are no cuts or edits to interrupt the discomfort of having to witness all those visual reminders of racism against Black Americans.
I think it's also significant that it's Lisa, an Asian American woman, who the camera follows. As someone who exists outside the Black-White racial binary, she’s able to traverse these two worlds but the bright red of her shirt still demarcates her as a conspicuous outsider amidst all the blue and brown on both sides, representing the uniquely precarious position of Asians in the U.S.’s racial hierarchy.
Loved this shot, the depth of the historical knowledge it contained, the respect for the viewers to build a set and then spend actual time with panoramic shots exploring it, the care in the background details and the way there was coherent rhythm to the cinematography which did not think it needed explosions and jumpcuts every few seconds to sustain our limited attention spans. Impeccable mise-en-scène.
Oscar-winning cinematography! Autumn Durald Arkapaw is not only the first Afro-Asian woman to win this category; she was miles ahead of the competition. Marty Supreme was shot in the typical sharp focus only on the main lead and blurry background that may be the fashion of cinematography now but will not age well, Frankenstein relied too much on greenscreens even though Guillermo del Toro loudly denied it (it is obvious when you see the film), OBAA's cinematography was weak (shaky camera technique, failure to pan over the parallel storyline of the Underground Railroad because it was too fixated on the big superstars and Michael Bauman's grandiose artsy camera angles took me out of the narrative at various points). Train Dreams came closest but it did not have to contend with an ensemble like Arkapaw did in Sinners where the camera had wide shots, crisp all the way into the distance like the kind of professionals who made movies back in the day where you could see the set clearly into the horizon so her task was harder than Adolpho Veloso who shot primarily empty landscapes beautifully. Plus her lighting of the dark scenes of Remmick outside the juke joint perfectly balanced our ability to see (not so dark we could not tell what was happening) while creating the impression that it was late at night in the Mississippi Delta. She deserved to win over her competition because she was simply the best person for the job.
the Pitt…..off duty edition
more of my babygirls
/gen did queen elizabeth did something problematic recently or are people just celebrating her death bc she's rich and a royal ? Asking bc i havent seen any callouts or negative headlines about her recently
she ships reylo hope that helps
Do you know this Musical Song? #26
I know the song and the musical
I know the song but not the musical
I know the musical but not the song
I may know this
I have never heard this
rpf is literally okay if you're pure of heart and those guys on youtube start getting really weird with it